Stay tuned for news about OW2016 London...

dream

Adam Robert Dickerson on Dancing Out into the Unknown

Adam Robert Dickerson. Credit Ally Lai. 

Adam Robert Dickerson. Credit Ally Lai. 

ADAM ROBERT DICKERSON is the founder and artistic director of Fooju Dance Collaborative. Fooju began in 2014 as a cerebral playground for exploring what dance is and where it can happen. Engaging multiple disciplines and all the senses, Fooju's work takes place onstage, online, in public spaces, and in private homes. It is social, experimental, playful, messy, and often accidental. Dickerson has also choreographed works for the American College Dance Festival, the Youth America Grand Prix semifinals, the Colorado Springs Fine Arts Center, and musician RJD2. A former member of Graham 2 at the Martha Graham Dance Company, he currently dances with Amanda Selwyn Dance Theatre and Amy Marshall Dance Company. 

We want to make the chimerical intimately real.

Odyssey Works: What is Fooju? How did it originate, and what is its purpose?

Adam Robert Dickerson: The name “Fooju” was birthed out of my own clumsiness. I mixed up “feng shui" and "juju," and just blurted it out.  Immediately, I wanted the word to stick. The principle of accepting happenstance as creativity is central to my choreographic process: playful clumsiness gets refined into crafted dance. The word became an important reflection of my work.

Before officially beginning Fooju, I had worked closely for several years with my dance partner, Dolo McComb, at Colorado College. The work that we developed together as students there was the embryonic foundation for my future Fooju creations. After we graduated, Dolo moved to Minneapolis and I came to Brooklyn. Separate, yet forever choreographically tied, Dolo and I collaborated on a project we funded with Kickstarter in January 2015. Our long distance relationship fostered a new way of generating work togetherthrough the Internet.  By way of YouTube and FaceTime, we created an evening-length work, the first production under the name of Fooju Dance Collaborative. The performers, dancers and a few non-dancers, were a collection of my local friends and acquaintances, and would come to form the basis of the collaborative. We performed in a studio at the Martha Graham school, where several of us had trained, used Christmas lights as lighting, and invited audience members to drink and heckle us during the show and to donate objects to us in lieu of paying for tickets. Since then, Dolo has continued to create work in Minneapolis with with her own collective, //CATHEDRAL\\, while Fooju Dance Collaborative has grown in both size and vision under my direction in New York City.

Fooju Dance Collaborative is meant to frame the queerer qualities of existence by placing performative dance theatre outside the context of the proscenium; its purpose is to expressively and colorfully highlight the idiosyncrasies of the human experience. Fooju is the manipulation of visceral, incidental, or accidental creative impulses into dance that mimics the unconscious. We want to make the chimerical intimately real. 

 

OW: How and why did the Works in Progresso series get started? What makes your kitchen shows different from typical dance performances, and whats the point of doing things this way?

AD: Works in Progresso was borne of necessity. Producing a show in a traditional venue in New York City is prohibitively expensive for most choreographers, aside from the famous ones. More often than not, choreographers are losing money to create work, and significant profit is abnormal. So I made up my mind to make as much dance as I could manage without spending any money. The resources that were most readily available to me were my kitchen and my network of talented and willing friends.

I had long been choreographing, dancing, and filming dance videos in my kitchen, because the space was there. While looking towards developing a new full-length show last year, I had trouble finding a space. I eventually resolved to create work in my kitchen, for my kitchen. The goal was not to emulate concert dance in a kitchen, which would stretch the viewer's ability to suspend disbelief past its breaking point. Instead, my aim was to facilitate a harmonious, equal collaboration of hosts, choreographers, performers, photographers, videographers, and guests. I wanted to make the work specific to the venue, and to highlight our kitchen as the space where we make and share both meals and dances.

 

Lia Bentley and Adam Robert Dickerson dance in a kitchen. Dancer Vera Paganin and composer Wes Braver watch from "onstage;" Keenan Parry films. Credit Joe Desimone. 

Lia Bentley and Adam Robert Dickerson dance in a kitchen. Dancer Vera Paganin and composer Wes Braver watch from "onstage;" Keenan Parry films. Credit Joe Desimone. 

 

Once I decided to make a show with no budget, I began the rehearsal process at my apartment. My choreographic process was loose and quick. With most of the pieces, I gave my dancers a framework with few specifics. We embraced the chance of error. More often than not, the mistakes from a dancer’s body catalyze my choreography and lead it towards sincerity.

When we had a show ready, we invited our friends, bought a box of wine, and showed the work we had created together.  The opening piece involved asking those watching for cookie recipes, and then baking a batch of cookies on the spot. Guests used their memories, phones, and collective tastes to contribute to the experience. This reliance on audience involvement initiated open communication between the "stage" and the viewers. The smell of the cookies gradually filled the room, until the oven timer sounded ten minutes into the dancing, and we served the audience warm cookies. We named the whole experience "Works in Progresso," an homage both to our home-brewed aesthetic and to the belief that all art is always a work in progress. We also served Progresso soup, although this was less popular than the cookies. Since then, we've brought various iterations of the Works in Progresso series to kitchens and living rooms throughout New York City. 

 

Stoking collaboration results in a splattering of new ideas onto what feels like a giant drawing board of new ways for dance to exist.

 

OW: Why does Fooju involve performers and collaborators who work in disciplines other than dance? What do they bring to the table, and how do they change things?

AD: Collaboration ensures we have a varied array of talent under the Fooju umbrella, and it ties together differing modalities from each of the participating disciplines. We encourage all our artists to share their developing work with the group, and to present it at showsso we all feed off of each other, and we all benefit from the experience of working with or around different mediums. In that way, Works in Progresso provides an opportunity for the artists in Fooju Dance Collaborative to experiment and share new ideas. This aspect of the series is what most compels me to continue curating shows for large and small audiences and to keep our collective motor running.

Stoking collaboration results in a splattering of new ideas onto what feels like a giant drawing board of new ways for dance to exist. Every show is different. We always throw in new pieces and complete re-workings of old pieces. We are often still playing around with things right up until our audience arrives!   The “trial and error” mentality of Fooju amplifies our energy and makes us feel as if we are dancing out into the unknown with each new show.

Fooju not only serves as a source of mutual experimentation and inspiration for our members, but it has also become something of a support group for those of us with questions about how to navigate the performing arts world. Also, I enjoy the wider audience and increased opportunities that naturally follow a more diverse group. This has proven helpful to us in connecting with prospective collaborators and hosts.  

 

OW: Your kitchen shows take place in small, semi-private spaces amongst people who mostly know each other; the dancers and audience members intermingle. At these events, where do you draw the line between a dance party and a dance performance? Between the artists and the audience? Where is the artwork itself located?

AD: Fooju’s Works in Progresso series is an invitation for showgoers to unlearn audience etiquette, and for our performers to unlearn stage etiquette.  We are still testing and determining the boundary between the audience and the performers, but it is definitely porous. Those who keep coming back to our shows are just beginning to understand the fluidity of roles we embrace. Our performers watch the showsometimes with our guests and sometimes from within the designated performance spaceduring the pieces they are not in. Fooju performers are also encouraged to include the audience in their performances, just as a host includes their guests in conversation. 

Deciding to put dance in a kitchen generated many questions for us about the meanings of terms like "audience," "dancer," and "stage." We are constantly in the process of deciding which performance conventions we want to keep, which we want to modify, and which we want to discard. Generally, we do engage the traditions of lighting, music, and a suggested area for the dancing to take place.

Yet we do not pretend to be in a theatre. Our events are free of charge and involve food, drink, and socializing before, after, and even during the show. We do usually lose track of where the show ends and the party begins and where the party ends and the show begins. We have a running joke where whenever anyone asks when the performance is starting, we say "The show already started! This has all been the show!" Works in Progresso is, in fact, about the multi-faceted magic of the entire experience.  Dance is something we like to do among friends and new acquaintances, not something we want to present to strangers. We see it as a social gift that we will share with anyone generous enough to receive it. We work to maintain the honesty of being "at home."

However, it is important to us to still create a theatrical, heightened experience. This is more, not less, possible in a kitchen than in a theatre. Whatever we might lose from not being on a stage, we gain back tenfold from being in our own sacred spaces. Having a show in an a small, private space yields qualities of intimacy similar to a religious ritual or ceremony. I choose to highlight these qualities by asking the audience to wear party hats for unity and drink our special (alcoholic) Foojuice. We begin each show by smudging the space and annointing the performers with glitter face paint. A Fooju show is a quiet spectacle, like a dream. 

 

Adam spreads glitter on dancer Anna Zekan's face before a show in Astoria. Credit Joe Desimone.

Adam spreads glitter on dancer Anna Zekan's face before a show in Astoria. Credit Joe Desimone.

 

OW: Fooju relies heavily on technology. Earlier projects have included Photobooth Ballet and Kitschy Kitchen, both video series. All your shows are recorded, and you encourage performers and audience members to use social media during each performance for documentary and promotional purposes. What does all this mean in the context of an art form founded on liveness? 

AD: As with dancing in people's homes, lack of funds were the initial impetus for the use of technology in my work. YouTube and social media are free, and almost everyone I know has a phone with a camera on it. Technology also enables the members of Fooju to collaborate long distance and without having to always set aside time to all meet together in person. It is such an easy tool for creating and sharing work. Beyond that, when audience members post on social media, it brings Fooju beyond the boundaries of the performance space. It allows them to perpetuate the performance by putting their own creative take on what they see and experience. It's one more means of inviting the audience to collaborate with us. 

While live dance will always be the genesis of my process, I have also always been passionate about film as a way to structure and frame movement. Keenan Parry has been Fooju's resident filmmaker from the beginning, and his artistry with the camera complements my choreography well. His delightfully playful cinematography highlights new dimensions of the dancing that may not have been as apparent during the live performance. He does not document the art, but co-creates it with us. He's also an integral part of our live performances. In our more recent shows, he has dressed in a green screen suit and followed dancers around the apartment with his camera. He's not quite audience member, not quite dancer, but something of a transitional object.  

 

I trust my unconscious, so I rely on chance and circumstance to sift through choreographic choices, allowing mishaps and obstacles to make decisions for me.

 

OW: Who are your influences, and within what aesthetic and conceptual traditions do you locate your work?

 AD: My exposure to collaborative theatre groups such as Elevator Repair Service and Forced Entertainment has influenced my sense of humor and my way of using found movement and improvisation to lay a foundation for my work. Eiko & Koma have inspired my use of time and imagination to modulate my choreography. Elements of Pina Bausch often find their way into Fooju shows: large choruses of dancers, quasi-pedestrian choreography, vocalization, and seemingly disconnected vignettes. Finally, my passion for the legacy of Martha Graham was what initially brought me to New York to study at the Martha Graham School of Contemporary Dance and dance with the Graham 2 company; this is the foundation of my dance technique and my choreography.

On the theoretical side of things, I draw from Antonin Artaud’s idea of the dream aesthetic and Richard Schechner’s insights on ceremony.  I am a romantic surrealist with hopes of physicalizing and ritualizing the queerness I experience in my dreams. I trust my unconscious, so I rely on chance and circumstance to sift through choreographic choices, allowing mishaps and obstacles to make decisions for me. If the language of dreams and the language of movement are universal, my aim is to resonate with the unconscious language of the individual. That’s you! And that’s Fooju. 

...................

Interview by Ana Freeman

 

 

 

 

 

Tom Pearson On Dream Logic

Tom Pearson. Credit Christopher Duggan.

Tom Pearson. Credit Christopher Duggan.

TOM PEARSON is one of the artistic directors of Third Rail Projects, along with Zach Morris and Jennine Willett. Hailed as one of the foremost companies creating site-specific, immersive, and experiential dance theatre in the United States, Third Rail Projects is dedicated to re-envisioning how audiences can engage with contemporary performance. They are the creators of the long-running immersive theatre hit Then She Fell and the new immersive sensation The Grand Paradise, which is playing in New York through May 29, 2016. More information can be found at thirdrailprojects.com.

 

Immersive theatre lets you create the world from the ground up.

 

Odyssey Works: What are you seeking to accomplish with your work? 

Tom Pearson: In all of my work, I am hoping to give audiences intimate and transformative experiences by making room for them in the work and making the work about them. I hope each piece becomes a Rorschach blot for their own reflective experiences and takes them on a heightened symbolic journey.  At the end of the day, I hope they see and examine something of themselves in everything I make and that they walk away having perhaps discovered something they didn’t know before.

 

Joshua Reaver and Tara O'Con in  The Grand Paradise . Credit Third Rail Projects.

Joshua Reaver and Tara O'Con in The Grand Paradise. Credit Third Rail Projects.

 

OW: You create work that is both immersive and site-specific. Can you explain the relationship between these two qualities? 

TP: They relate in that they provoke similar approaches to creating work. Many of our public site works focus on the discovery of the narratives that are bricked into the architecture of a place.  In site-specific work, there is a rigorous engagement with real-world architecture and a deep sense of place.  I think that’s true for immersive work as well, but often it involves creating the place ourselves rather than excavating the meanings of pre-existing space. Immersive theatre lets you create the world from the ground up.

 

The artwork itself exists in that sharp turn when a scene moves from an obvious read into the deeper recesses of possibility.
 

 

OW: How would you characterize the exchange you facilitate between artist and audience? Where is the artwork itself located? 

TP: My work is about creating scenarios that keep the audience in mind from the outset—so they are necessary to the work, and each scene is built with that exchange in mind.  I think I am trying to achieve intimacy, but also to challenge audience members' expectations, bypass their rational minds, put them in places with smells and tastes and textures that trigger emotional or physical responses and put them into a place of strong receptivityand then turn a corner to go into deeper, more symbolic, meaningful places. The artwork itself exists in that sharp turn when a scene moves from an obvious read into the deeper recesses of possibility.

 

Roxanne Kidd in  Then She Fell . Credit Darial Sneed. 

Roxanne Kidd in Then She Fell. Credit Darial Sneed. 

 

OW: Unlike some other experiential art, Third Rail’s pieces seem to have a strong narrative focus, yet they are also clearly structured differently from traditional theatre. Can you talk about the role of narrative in your work?

TP: Our narratives are always fragmented, which is the nature of immersive work, and what is most effective about it.  Audiences seem to need to hook themselves onto some sort of narrative to navigate the worlds, which is why the writings of Lewis Carroll offer so much to Then She Fell; audiences have some cultural and literary signifiers that are easy to understand, so they can relax a little more into the figurative and fragmented and symbolic aspects of the work. They can go deeper into the dream logic because they have an anchor in the narrative images. It’s harder with something like The Grand Paradise, where we are hooking the audience’s attention onto broader cultural signifiers...like the idea of "paradise," a status quo family from Middle America on vacation, a coming of age, a midlife crisis, the collective cultural fantasies of the late 1970s, and the Fountain of Youth.  These are anchor points too, but much looser ones.

 

OW:  Immersive theatre is often compared to video games or other interactive virtual experiences. Why do you choose to create embodied experiences? What does liveness mean to you? 

TP: I think immersive theatre is just a more obvious form of liveness than other theatre, maybe because audience members feel some agency and control in it, but also because it allows them a more personal, tactile, intimate encounter with art.  And I think video games and the last 20 years of digital living have made us all crave liveness, while also preparing us to navigate these real worlds that follow video game logic. Like a video game, immersive theatre trains you, sets you loose to unlock possibilities, and then levels you through based on your choices; there are boons along the way, and a sense of discovery as you put the structure together for yourself through your own experience of it.

 

How can audiences and characters be given the same offerings and have synonymous experiences in a safe space?

 

OW: Tell us about your process for creating a piece. 

TP: It can start and finish in a myriad of ways. Often, it begins with a movement idea that becomes an organizing principle, or a narrative fragment, such as a sense of duality, or a yearning for the Fountain of Youth. Then She Fell began with the idea of a personality torn in two directions, towards two separate agendas, with both halves operating on either side of a real-life event. The Grand Paradise was inspired by archetypal psychology, by the idea of characters representing different aspects of a single psyche. I envisioned that psyche being that of a place, a sentient place that gives birth to a pantheon of archetypal characters who promise to fulfill audience desires. From those kinds of starting places, the choreography, writing, and scenarios spin out around the idea of audience inclusion and what that could mean. How can audiences and characters be given the same offerings and have synonymous experiences in a safe space?

 

...................

 

Interview by Ana Freeman